Understanding Absurdity From Satire to Hysterical Realism in Paul Beatty’s The White Boy Shuffle and The Sellout By Inger Marie Lauvås Alver Master’s Thesis Department of Foreign Languages University of Bergen May 2021 i Samandrag I denne oppgåva vert to av Paul Beatty sine romanar, The White Boy Shuffle (1996) og The Sellout (2015) analysert og diskutert med tanke på deira sjangertrekk og sjangertilhøyrsle. Oppgåva undersøker sjangrane satire og hysterisk realisme som skildra av Mikhail Bakhtin og James Wood respektivt. Båe romanar har fått stor merksemd in det litterære miljø, særleg etter sistnemnde vann Beatty Booker prisen i 2016 som fyrste amerikanske forfattar. Oppgåva baserer seg på argumentet om at Beatty sin nyaste roman The Sellout i tilstrekkeleg grad skil seg frå andre tekstar klassifisert som satire til å kunne bli plassert i same kategori. For å klårgjera dette skiljet kontrasterer eg romanen med Beatty sin debut roman, The White Boy Shuffle. Sistnemnde vert gjort greie for i lys av Mikhail Bakhtin sine karakteristikkar av satire, mens eg vidare argumenterer for at The Sellout illustrerer trekk frå hysterisk realisme ved å relatere eksemplar frå teksten til Wood si skildring av sjangeren. For å undersøke trekk og sjangertilhøyrsle er det nødvendig med eit overblikk av satire innan den Afrikansk Amerikanske tradisjonen, i tillegg til definisjonsspørsmåla rundt satiresjangeren. Dette heldt seg som ein raud tråd gjennom teksten og visar kor dynamisk sjangre kan opptre, og illustrerer at det kan vere nødvendig å revidere tidlegare forståingar av tekstar og sjangre. I dei to neste kapitla visar eg korleis romanane demonstrerer trekk frå deira respektive sjanger, før eg vender blikket framover og utover og argumenterer for at hysterisk realisme som sjanger kan vere eit fruktbart rammeverk for å forstå andre situasjonar og kunstmateriale. ii Acknowledgements First and foremost, I want to thank my supervisor, Lene Marite Johannessen for her support and encouragement throughout this process. I am constantly impressed by, and thankful for your ideas and comments, and perhaps most of all the way you aid your students with such grace and empathy. Your help has been invaluable. Thank you, Solveig, Elise, and everyone at the reading hall at the University for such a loving and caring environment, where we have encouraged one another to grow and do our best. I will cherish the many hours spent with you, talking both about our thesis and our personal lives, and they will stand with me as wonderful memories of our great group of friends. Thank you, also, to Nahum and our Work in Progress seminar, where we have continuously worked on our papers together with feedback from each other and faculty members. Finally, I want to thank my family and friends for your endless faith in me and this project. Your encouraging words means more to me than you know. I especially want to thank Eirik and Marie for taking the time to read my thesis. I now pride myself with the finish badge of my five-year education, free as a bird. iii Table of contents SAMANDRAG......................................................................................................................... II ACKNOWLEDGEMENTS .................................................................................................. III INTRODUCTION .................................................................................................................... 1 CHAPTER 1 ............................................................................................................................. 6 BACKGROUND AND THEORETICAL FRAMEWORK ................................................. 6 1.2 THE TRADITION OF AFRICAN AMERICAN SATIRE ............................................................... 6 1.3 THE WHITE BOY SHUFFLE ............................................................................................... 12 1.4 THE SELLOUT .................................................................................................................. 14 1.5 DEFINING SATIRE ............................................................................................................. 17 1.6 CHARACTERISTICS OF SATIRE.......................................................................................... 19 CHAPTER 2 ........................................................................................................................... 24 THE WHITE BOY SHUFFLE AND SATIRE ..................................................................... 24 2.1 HUMOR AND IRONY ......................................................................................................... 25 2.2 CHALLENGING AND TESTING PHILOSOPHICAL TRUTHS..................................................... 31 2.3 THE ABSURD ................................................................................................................... 40 CHAPTER 3 ........................................................................................................................... 47 THE SELLOUT ...................................................................................................................... 47 3.1 HYSTERICAL REALISM ..................................................................................................... 48 3.2 HOW THE SELLOUT ENCOMPASSES FEATURES OF HYSTERICAL REALISM .......................... 52 CONCLUSION ....................................................................................................................... 69 ABSURD REALITIES ........................................................................................................... 69 iv BIBLIOGRAPHY .................................................................................................................. 77 v Introduction African American literature has experienced a blooming in terms of diversity, size and impact particularly since the 20th century. The satire genre specifically has been an influential and valuable framework for African American writers to express themselves by, in terms of criticizing issues like slavery and civil rights. In the 21st century, however, a shift has been observed concerning the style and effect of the satire genre, suggesting that the previously conceptualized understanding of the genre needs to be revised. In order to explore this shift, this thesis will analyze the renowned African American author Paul Beatty’s two novels The White Boy Shuffle (1996) and The Sellout (2015), and investigate whether the novels are rightfully placed within the satire genre, or whether a new term better describes their style. Beatty’s texts are both scathingly critical, absurd and unpredictable. Nevertheless, I argue that their approach to pressing issues differs from each other, and that the style of the two novels cannot be aligned as all part of satire as it is typically characterized. As I pursue the question of whether there is a need for a new term applied to texts like The Sellout, the term “Hysterical Realism” coined by James Wood in 2000 will be investigated. In my discussion I will highlight and further investigate the ambiguous relationship between satire and realism found in The Sellout. Consequently, then, in simple terms, I argue that The Sellout should be classified as a hysterical realist text in contrast to The White Boy Shuffle, which I argue is rightfully placed within the satire genre. Paul Beatty’s novels both have elements of humor and critique, but they are vastly different in their use of literary devices like the absurd. The White Boy Shuffle presents a young man called Gunnar, who struggles to find his role in shifting environments of race and place in America. Gunnar somewhat reluctantly ends up as an African American leader figure who incites his followers to commit suicide in the name of African Americans’ fight for equality. The Sellout, published nearly two decades later, presents a nonchalant 1 protagonist and narrator who reintroduces slavery and segregation in an outskirt area of Los Angeles. The events and dialogues of this novel reveal, in my point of view, how the balance of realism and absurdity is particularly different from the first novel and contributes to its pursuit of truth and reality. Beatty’s body of literature consists of poetry collections as well as novels. I chose The White Boy Shuffle and The Sellout as primary works in this thesis because the contrast between them in time and style is apparent. The novels are worth exploring also because of their similarity – both novels tackle the problem of race in the contemporary United States, although there is a development in Beatty’s representation of these. I explore and emphasize the development between the debut and the latest novel through my analysis, which supports my argument of the latter belonging in a different genre. The issues raised in Beatty’s novels are communicated through a format of humor and subversiveness, which highlights those issues and challenge readers’ preconceptions and attitudes. Both novels question the development of the post-racial era, highlight covert racism in society, for example in regard to education, and facilitate discussions on how people are to interact with such controversies. One such matter that is touched upon by the novels concerns the debate of whether one can expect an explanation of why something is inappropriate or racist from a racial group member to others who are oblivious to that fact. The novels comment on this debate by provoking, challenging and